niryuu/sni-each-converted huggingface dataset:
CONTEXT: Regarding whether "it's all editing", the answer is yes, and that's not just this splice. All of what you see when you see a finished movie in a theater is the result of editing. In his Masterclass, David Mamet repeated a maxim regarding movies: "You make a movie three times. Once when you write it, once when you film it, and once when you edit it." To actually answer the question, the frames that were spliced in were filmed at some point, and likely many frames or even feet were filmed. Then, during editing, a few frames were selected for each splice and edited into the desired spot in the film. In terms of how he filmed it, they just picked a set and had Brad Pitt in costume and makeup and filmed some footage. They also could have easily spliced in footage filmed for totally different scenes. When Fight Club was made, digital film editing using tools such as Avid was quite popular, and Fight Club was almost certainly edited digitally. This makes adding frames much easier than editing by cutting film. But splicing frames by actually cutting film isn't super difficult. Fight Club shows Tyler doing this in his spare time while working as a projectionist.  <sep>  Q: How did David Fincher splice Brad Pitt into multiple frames?
Output: Yes
CONTEXT: Regarding whether "it's all editing", the answer is yes, and that's not just this splice. All of what you see when you see a finished movie in a theater is the result of editing. In his Masterclass, David Mamet repeated a maxim regarding movies: "You make a movie three times. Once when you write it, once when you film it, and once when you edit it." To actually answer the question, the frames that were spliced in were filmed at some point, and likely many frames or even feet were filmed. Then, during editing, a few frames were selected for each splice and edited into the desired spot in the film. In terms of how he filmed it, they just picked a set and had Brad Pitt in costume and makeup and filmed some footage. They also could have easily spliced in footage filmed for totally different scenes. When Fight Club was made, digital film editing using tools such as Avid was quite popular, and Fight Club was almost certainly edited digitally. This makes adding frames much easier than editing by cutting film. But splicing frames by actually cutting film isn't super difficult. Fight Club shows Tyler doing this in his spare time while working as a projectionist.  <sep>  Q: How did David Fincher splice Brad Pitt into multiple frames? A: ny fram  <sep> FOLLOWUP_Q: In Flight Club, you can actually see Tyler Durden in a few frames before we ever meet him. How did Dacid Fincher film those momentary appearances?
Output: Yes
CONTEXT: Regarding whether "it's all editing", the answer is yes, and that's not just this splice. All of what you see when you see a finished movie in a theater is the result of editing. In his Masterclass, David Mamet repeated a maxim regarding movies: "You make a movie three times. Once when you write it, once when you film it, and once when you edit it." To actually answer the question, the frames that were spliced in were filmed at some point, and likely many frames or even feet were filmed. Then, during editing, a few frames were selected for each splice and edited into the desired spot in the film. In terms of how he filmed it, they just picked a set and had Brad Pitt in costume and makeup and filmed some footage. They also could have easily spliced in footage filmed for totally different scenes. When Fight Club was made, digital film editing using tools such as Avid was quite popular, and Fight Club was almost certainly edited digitally. This makes adding frames much easier than editing by cutting film. But splicing frames by actually cutting film isn't super difficult. Fight Club shows Tyler doing this in his spare time while working as a projectionist.  <sep>  Q: How did David Fincher splice Brad Pitt into multiple frames? A: ny fram  Q: In Flight Club, you can actually see Tyler Durden in a few frames before we ever meet him. How did Dacid Fincher film those momentary appearances? A: When Fight Club was made, digital film editing using tools such as Avid was quite popular, and Fight Club was almost certainly edited digitally  <sep> FOLLOWUP_Q: So it was editing?
Output: Yes
CONTEXT: Regarding whether "it's all editing", the answer is yes, and that's not just this splice. All of what you see when you see a finished movie in a theater is the result of editing. In his Masterclass, David Mamet repeated a maxim regarding movies: "You make a movie three times. Once when you write it, once when you film it, and once when you edit it." To actually answer the question, the frames that were spliced in were filmed at some point, and likely many frames or even feet were filmed. Then, during editing, a few frames were selected for each splice and edited into the desired spot in the film. In terms of how he filmed it, they just picked a set and had Brad Pitt in costume and makeup and filmed some footage. They also could have easily spliced in footage filmed for totally different scenes. When Fight Club was made, digital film editing using tools such as Avid was quite popular, and Fight Club was almost certainly edited digitally. This makes adding frames much easier than editing by cutting film. But splicing frames by actually cutting film isn't super difficult. Fight Club shows Tyler doing this in his spare time while working as a projectionist.  <sep>  Q: How did David Fincher splice Brad Pitt into multiple frames? A: ny fram  Q: In Flight Club, you can actually see Tyler Durden in a few frames before we ever meet him. How did Dacid Fincher film those momentary appearances? A: When Fight Club was made, digital film editing using tools such as Avid was quite popular, and Fight Club was almost certainly edited digitally  Q: So it was editing? A: Regarding whether "it's all editing", the answer is yes, and that's not just this splice. All of what you see when you see a finished movie in a theater is the result of editing  <sep> FOLLOWUP_Q: I am interested to know how he actually filmed these sequenced and positioned Brad Pitt accordingly
Output: Yes
CONTEXT: It's the same for professional as well as amateur actors - I've known some pros that have a hard time reaching the crying point. One technique includes allowing the actor to focus on the saddest memory they have, in solitude, then pull them out for the take. I recall seeing a documentary that showed Gary Oldman looking through a book of photos of his family (he had just split from Uma Thurman) on the set of Dracula that got him to the point of sorrow that Coppola wanted. I have worked with some amazing amateur actors that would work themselves up into a state before filming. One actress imagined something terrible happening to her sister, and she delivered a very powerful performance (that got the crew all choked up). If all else fails, the vapors from an onion can induce tears (but also cause redness), or a few drops of glycerin in the corners of the eyes can be released - but nothing beats real tears. I have also heard of directors bullying/belittling actors to the point of melt-down, just to get the shot they want. But that's a pretty extreme way to go about it.  <sep>  Q: What techniques are used by directors to make an actor cry?
Output: Yes
CONTEXT: It's the same for professional as well as amateur actors - I've known some pros that have a hard time reaching the crying point. One technique includes allowing the actor to focus on the saddest memory they have, in solitude, then pull them out for the take. I recall seeing a documentary that showed Gary Oldman looking through a book of photos of his family (he had just split from Uma Thurman) on the set of Dracula that got him to the point of sorrow that Coppola wanted. I have worked with some amazing amateur actors that would work themselves up into a state before filming. One actress imagined something terrible happening to her sister, and she delivered a very powerful performance (that got the crew all choked up). If all else fails, the vapors from an onion can induce tears (but also cause redness), or a few drops of glycerin in the corners of the eyes can be released - but nothing beats real tears. I have also heard of directors bullying/belittling actors to the point of melt-down, just to get the shot they want. But that's a pretty extreme way to go about it.  <sep>  Q: What techniques are used by directors to make an actor cry? A: One technique includes allowing the actor to focus on the saddest memory they have, in solitude, then pull them out for the take  <sep> FOLLOWUP_Q: Is crying in a movie scene something that can be learned by practice or only talented people can perform?
Output: Yes
CONTEXT: It's the same for professional as well as amateur actors - I've known some pros that have a hard time reaching the crying point. One technique includes allowing the actor to focus on the saddest memory they have, in solitude, then pull them out for the take. I recall seeing a documentary that showed Gary Oldman looking through a book of photos of his family (he had just split from Uma Thurman) on the set of Dracula that got him to the point of sorrow that Coppola wanted. I have worked with some amazing amateur actors that would work themselves up into a state before filming. One actress imagined something terrible happening to her sister, and she delivered a very powerful performance (that got the crew all choked up). If all else fails, the vapors from an onion can induce tears (but also cause redness), or a few drops of glycerin in the corners of the eyes can be released - but nothing beats real tears. I have also heard of directors bullying/belittling actors to the point of melt-down, just to get the shot they want. But that's a pretty extreme way to go about it.  <sep>  Q: What techniques are used by directors to make an actor cry? A: One technique includes allowing the actor to focus on the saddest memory they have, in solitude, then pull them out for the take  Q: Is crying in a movie scene something that can be learned by practice or only talented people can perform? A: It's the same for professional as well as amateur actors - I've known some pros that have a hard time reaching the crying point  <sep> FOLLOWUP_Q: What techniques are used to help younger actors cry in a movie scene?
Output: Yes
CONTEXT: It's the same for professional as well as amateur actors - I've known some pros that have a hard time reaching the crying point. One technique includes allowing the actor to focus on the saddest memory they have, in solitude, then pull them out for the take. I recall seeing a documentary that showed Gary Oldman looking through a book of photos of his family (he had just split from Uma Thurman) on the set of Dracula that got him to the point of sorrow that Coppola wanted. I have worked with some amazing amateur actors that would work themselves up into a state before filming. One actress imagined something terrible happening to her sister, and she delivered a very powerful performance (that got the crew all choked up). If all else fails, the vapors from an onion can induce tears (but also cause redness), or a few drops of glycerin in the corners of the eyes can be released - but nothing beats real tears. I have also heard of directors bullying/belittling actors to the point of melt-down, just to get the shot they want. But that's a pretty extreme way to go about it.  <sep>  Q: What techniques are used by directors to make an actor cry? A: One technique includes allowing the actor to focus on the saddest memory they have, in solitude, then pull them out for the take  Q: Is crying in a movie scene something that can be learned by practice or only talented people can perform? A: It's the same for professional as well as amateur actors - I've known some pros that have a hard time reaching the crying point  Q: What techniques are used to help younger actors cry in a movie scene? A: I have worked with some amazing amateur actors that would work themselves up into a state before filming  <sep> FOLLOWUP_Q: Can anyone get good at crying for a movie scene?
Output: Yes
CONTEXT: It's the same for professional as well as amateur actors - I've known some pros that have a hard time reaching the crying point. One technique includes allowing the actor to focus on the saddest memory they have, in solitude, then pull them out for the take. I recall seeing a documentary that showed Gary Oldman looking through a book of photos of his family (he had just split from Uma Thurman) on the set of Dracula that got him to the point of sorrow that Coppola wanted. I have worked with some amazing amateur actors that would work themselves up into a state before filming. One actress imagined something terrible happening to her sister, and she delivered a very powerful performance (that got the crew all choked up). If all else fails, the vapors from an onion can induce tears (but also cause redness), or a few drops of glycerin in the corners of the eyes can be released - but nothing beats real tears. I have also heard of directors bullying/belittling actors to the point of melt-down, just to get the shot they want. But that's a pretty extreme way to go about it.  <sep>  Q: What techniques are used by directors to make an actor cry? A: One technique includes allowing the actor to focus on the saddest memory they have, in solitude, then pull them out for the take  Q: Is crying in a movie scene something that can be learned by practice or only talented people can perform? A: It's the same for professional as well as amateur actors - I've known some pros that have a hard time reaching the crying point  Q: What techniques are used to help younger actors cry in a movie scene? A: I have worked with some amazing amateur actors that would work themselves up into a state before filming  Q: Can anyone get good at crying for a movie scene? A: If all else fails, the vapors from an onion can induce tears (but also cause redness  <sep> FOLLOWUP_Q: How often are onions used to make actors cry?
Output: Yes
CONTEXT: It's the same for professional as well as amateur actors - I've known some pros that have a hard time reaching the crying point. One technique includes allowing the actor to focus on the saddest memory they have, in solitude, then pull them out for the take. I recall seeing a documentary that showed Gary Oldman looking through a book of photos of his family (he had just split from Uma Thurman) on the set of Dracula that got him to the point of sorrow that Coppola wanted. I have worked with some amazing amateur actors that would work themselves up into a state before filming. One actress imagined something terrible happening to her sister, and she delivered a very powerful performance (that got the crew all choked up). If all else fails, the vapors from an onion can induce tears (but also cause redness), or a few drops of glycerin in the corners of the eyes can be released - but nothing beats real tears. I have also heard of directors bullying/belittling actors to the point of melt-down, just to get the shot they want. But that's a pretty extreme way to go about it.  <sep>  Q: What techniques are used by directors to make an actor cry? A: One technique includes allowing the actor to focus on the saddest memory they have, in solitude, then pull them out for the take  Q: Is crying in a movie scene something that can be learned by practice or only talented people can perform? A: It's the same for professional as well as amateur actors - I've known some pros that have a hard time reaching the crying point  Q: What techniques are used to help younger actors cry in a movie scene? A: I have worked with some amazing amateur actors that would work themselves up into a state before filming  Q: Can anyone get good at crying for a movie scene? A: If all else fails, the vapors from an onion can induce tears (but also cause redness  Q: How often are onions used to make actors cry? A: a few drops of glycerin in the corners of the eyes can be released - but nothing beats real tears  <sep> FOLLOWUP_Q: Is it hard for actors to focus during a crying scene?
Output: No
CONTEXT: It's the same for professional as well as amateur actors - I've known some pros that have a hard time reaching the crying point. One technique includes allowing the actor to focus on the saddest memory they have, in solitude, then pull them out for the take. I recall seeing a documentary that showed Gary Oldman looking through a book of photos of his family (he had just split from Uma Thurman) on the set of Dracula that got him to the point of sorrow that Coppola wanted. I have worked with some amazing amateur actors that would work themselves up into a state before filming. One actress imagined something terrible happening to her sister, and she delivered a very powerful performance (that got the crew all choked up). If all else fails, the vapors from an onion can induce tears (but also cause redness), or a few drops of glycerin in the corners of the eyes can be released - but nothing beats real tears. I have also heard of directors bullying/belittling actors to the point of melt-down, just to get the shot they want. But that's a pretty extreme way to go about it.  <sep>  Q: What techniques are used by directors to make an actor cry? A: One technique includes allowing the actor to focus on the saddest memory they have, in solitude, then pull them out for the take  Q: Is crying in a movie scene something that can be learned by practice or only talented people can perform? A: It's the same for professional as well as amateur actors - I've known some pros that have a hard time reaching the crying point  Q: What techniques are used to help younger actors cry in a movie scene? A: I have worked with some amazing amateur actors that would work themselves up into a state before filming  Q: Can anyone get good at crying for a movie scene? A: If all else fails, the vapors from an onion can induce tears (but also cause redness  Q: How often are onions used to make actors cry? A: a few drops of glycerin in the corners of the eyes can be released - but nothing beats real tears  <sep> FOLLOWUP_Q: whats the youngest actor to cry in a movie?
Output: No
CONTEXT: The aliens never said exactly what they needed humanity's help for, only that they WOULD need it, in 3000 years' time. They didn't even specify if the crisis was combative or political, ecological or technological. It could really be anything. I haven't read the short story that the movie is based on, so I can't speak to that point.  <sep>  Q: The aliens need help with food i guess
Output: Yes
CONTEXT: The aliens never said exactly what they needed humanity's help for, only that they WOULD need it, in 3000 years' time. They didn't even specify if the crisis was combative or political, ecological or technological. It could really be anything. I haven't read the short story that the movie is based on, so I can't speak to that point.  <sep>  Q: Hello
Output: No
CONTEXT: You're probably after Pomysłowy Dobromir from the 70s, a dialogue-free Polish cartoon about a boy who lives with his grandfather and a pet bird and always comes up with inventions. I think the episode you're describing is this one, only it's a hand pump, not a faucet:  <sep>  Q: Russian/East-European/Soviet Cartoon show with 3 main characters
Output: Yes
CONTEXT: You're probably after Pomysłowy Dobromir from the 70s, a dialogue-free Polish cartoon about a boy who lives with his grandfather and a pet bird and always comes up with inventions. I think the episode you're describing is this one, only it's a hand pump, not a faucet:  <sep>  Q: Russian/East-European/Soviet Cartoon show with 3 main characters A: Pomysłowy Dobromir  Q: I used to watch it in 1984. The show is in color. no dialogue, only music and sound effects A: Pomysłowy Dobromir from the 70s  <sep> FOLLOWUP_Q: The characters are: a boy, his grandfather and a bird. And both the boy and his grandfather live in a house with no other member of the family.
Output: Yes
CONTEXT: You're probably after Pomysłowy Dobromir from the 70s, a dialogue-free Polish cartoon about a boy who lives with his grandfather and a pet bird and always comes up with inventions. I think the episode you're describing is this one, only it's a hand pump, not a faucet:  <sep>  Q: Russian/East-European/Soviet Cartoon show with 3 main characters A: Pomysłowy Dobromir  Q: I used to watch it in 1984. The show is in color. no dialogue, only music and sound effects A: Pomysłowy Dobromir from the 70s  Q: The characters are: a boy, his grandfather and a bird. And both the boy and his grandfather live in a house with no other member of the family. A: dialogue-free Polish cartoon  <sep> FOLLOWUP_Q: The show is vert old, it could have been made in the 60s. It was aired on Saudi Arabian Channel 1 or 2 and never again aired after that.
Output: Yes
CONTEXT: You're probably after Pomysłowy Dobromir from the 70s, a dialogue-free Polish cartoon about a boy who lives with his grandfather and a pet bird and always comes up with inventions. I think the episode you're describing is this one, only it's a hand pump, not a faucet:  <sep>  Q: Russian/East-European/Soviet Cartoon show with 3 main characters A: Pomysłowy Dobromir  Q: I used to watch it in 1984. The show is in color. no dialogue, only music and sound effects A: Pomysłowy Dobromir from the 70s  Q: The characters are: a boy, his grandfather and a bird. And both the boy and his grandfather live in a house with no other member of the family. A: dialogue-free Polish cartoon  Q: The show is vert old, it could have been made in the 60s. It was aired on Saudi Arabian Channel 1 or 2 and never again aired after that. A: I think the episode you're describing is this one, only it's a hand pump, not a faucet  <sep> FOLLOWUP_Q: I see. it was determined to annoy the other characters and that they are trying to stop it from leaking
Output: Yes
CONTEXT: We don't know. All we know is that Chiron assaulted him with the chair. Certainly he was injured but we don't know the severity of the injuries. Given that Chiron is only sent to juvie it's extremely unlikely that Terrel was killed. Thus a charge of the Assault variety would seem likely but that is also unknown. We also don't know how long Chiron was in juvie but most age out of the juvenile system at 18, assuming he was tried as a minor. However, there is a 10 year time jump between the assault and when we see Chiron again so any sentence would have been less than that since Chiron has now relocated to another city, is considerably larger than before and is now established as a drug dealer.  <sep>  Q: What happened to Terrel?
Output: Yes
CONTEXT: We don't know. All we know is that Chiron assaulted him with the chair. Certainly he was injured but we don't know the severity of the injuries. Given that Chiron is only sent to juvie it's extremely unlikely that Terrel was killed. Thus a charge of the Assault variety would seem likely but that is also unknown. We also don't know how long Chiron was in juvie but most age out of the juvenile system at 18, assuming he was tried as a minor. However, there is a 10 year time jump between the assault and when we see Chiron again so any sentence would have been less than that since Chiron has now relocated to another city, is considerably larger than before and is now established as a drug dealer.  <sep>  Q: What happened to Terrel? A: We don't know  <sep> FOLLOWUP_Q: What happened to Chiron after this?
Output: Yes
CONTEXT: We don't know. All we know is that Chiron assaulted him with the chair. Certainly he was injured but we don't know the severity of the injuries. Given that Chiron is only sent to juvie it's extremely unlikely that Terrel was killed. Thus a charge of the Assault variety would seem likely but that is also unknown. We also don't know how long Chiron was in juvie but most age out of the juvenile system at 18, assuming he was tried as a minor. However, there is a 10 year time jump between the assault and when we see Chiron again so any sentence would have been less than that since Chiron has now relocated to another city, is considerably larger than before and is now established as a drug dealer.  <sep>  Q: What happened to Terrel? A: We don't know  Q: What happened to Chiron after this? A: Given that Chiron is only sent to juvie it's extremely unlikely that Terrel was killed  <sep> FOLLOWUP_Q: what happened to Terrell after the incident as this isn't covered?
Output: Yes
CONTEXT: We don't know. All we know is that Chiron assaulted him with the chair. Certainly he was injured but we don't know the severity of the injuries. Given that Chiron is only sent to juvie it's extremely unlikely that Terrel was killed. Thus a charge of the Assault variety would seem likely but that is also unknown. We also don't know how long Chiron was in juvie but most age out of the juvenile system at 18, assuming he was tried as a minor. However, there is a 10 year time jump between the assault and when we see Chiron again so any sentence would have been less than that since Chiron has now relocated to another city, is considerably larger than before and is now established as a drug dealer.  <sep>  Q: What happened to Terrel? A: We don't know  Q: What happened to Chiron after this? A: Given that Chiron is only sent to juvie it's extremely unlikely that Terrel was killed  Q: what happened to Terrell after the incident as this isn't covered? A: We don't know  <sep> FOLLOWUP_Q: What else can you tell me about the end of Moonlight or in general?
Output: Yes
CONTEXT: We don't know. All we know is that Chiron assaulted him with the chair. Certainly he was injured but we don't know the severity of the injuries. Given that Chiron is only sent to juvie it's extremely unlikely that Terrel was killed. Thus a charge of the Assault variety would seem likely but that is also unknown. We also don't know how long Chiron was in juvie but most age out of the juvenile system at 18, assuming he was tried as a minor. However, there is a 10 year time jump between the assault and when we see Chiron again so any sentence would have been less than that since Chiron has now relocated to another city, is considerably larger than before and is now established as a drug dealer.  <sep>  Q: What happened to Terrel? A: We don't know  Q: What happened to Chiron after this? A: Given that Chiron is only sent to juvie it's extremely unlikely that Terrel was killed  Q: what happened to Terrell after the incident as this isn't covered? A: We don't know  Q: What else can you tell me about the end of Moonlight or in general? A: there is a 10 year time jump between the assault and when we see Chiron again so any sentence would have been less than that since Chiron has now relocated to another city  <sep> FOLLOWUP_Q: Where was he relocated to?
Output: Yes
CONTEXT: We don't know. All we know is that Chiron assaulted him with the chair. Certainly he was injured but we don't know the severity of the injuries. Given that Chiron is only sent to juvie it's extremely unlikely that Terrel was killed. Thus a charge of the Assault variety would seem likely but that is also unknown. We also don't know how long Chiron was in juvie but most age out of the juvenile system at 18, assuming he was tried as a minor. However, there is a 10 year time jump between the assault and when we see Chiron again so any sentence would have been less than that since Chiron has now relocated to another city, is considerably larger than before and is now established as a drug dealer.  <sep>  Q: What happened to Terrel? A: We don't know  Q: What happened to Chiron after this? A: Given that Chiron is only sent to juvie it's extremely unlikely that Terrel was killed  Q: what happened to Terrell after the incident as this isn't covered? A: We don't know  Q: What else can you tell me about the end of Moonlight or in general? A: there is a 10 year time jump between the assault and when we see Chiron again so any sentence would have been less than that since Chiron has now relocated to another city  Q: Where was he relocated to? A: We don't know  <sep> FOLLOWUP_Q: Can you tell me anything else about the storyline in general?
Output: No
CONTEXT: We don't know. All we know is that Chiron assaulted him with the chair. Certainly he was injured but we don't know the severity of the injuries. Given that Chiron is only sent to juvie it's extremely unlikely that Terrel was killed. Thus a charge of the Assault variety would seem likely but that is also unknown. We also don't know how long Chiron was in juvie but most age out of the juvenile system at 18, assuming he was tried as a minor. However, there is a 10 year time jump between the assault and when we see Chiron again so any sentence would have been less than that since Chiron has now relocated to another city, is considerably larger than before and is now established as a drug dealer.  <sep>  Q: What happened to Terrel? A: We don't know  Q: What happened to Chiron after this? A: Given that Chiron is only sent to juvie it's extremely unlikely that Terrel was killed  Q: what happened to Terrell after the incident as this isn't covered? A: We don't know  Q: What else can you tell me about the end of Moonlight or in general? A: there is a 10 year time jump between the assault and when we see Chiron again so any sentence would have been less than that since Chiron has now relocated to another city  Q: Where was he relocated to? A: We don't know  <sep> FOLLOWUP_Q: What was the director's motivation for the ending?
Output: No
CONTEXT: Elgar's Enigma variations - and Nimrod, in particular - have long been a part of the British consciousness. Interestingly, Elgar ended up writing 14 variations (Nimrod being number 9). Zimmer is trying to instil the patriotism that the variations have done for the British over the past century. Calling his own composition Variation 15 implies a continuation of Elgar's original works.  <sep>  Q: What is the significance of Nimrod to Dunkirk's original score?
Output: Yes
CONTEXT: Elgar's Enigma variations - and Nimrod, in particular - have long been a part of the British consciousness. Interestingly, Elgar ended up writing 14 variations (Nimrod being number 9). Zimmer is trying to instil the patriotism that the variations have done for the British over the past century. Calling his own composition Variation 15 implies a continuation of Elgar's original works.  <sep>  Q: What is the significance of Nimrod to Dunkirk's original score? A: Elgar's Enigma variations - and Nimrod, in particular - have long been a part of the British consciousness  <sep> FOLLOWUP_Q: What do you mean by part of British conciousness?
Output: Yes
CONTEXT: Elgar's Enigma variations - and Nimrod, in particular - have long been a part of the British consciousness. Interestingly, Elgar ended up writing 14 variations (Nimrod being number 9). Zimmer is trying to instil the patriotism that the variations have done for the British over the past century. Calling his own composition Variation 15 implies a continuation of Elgar's original works.  <sep>  Q: What is the significance of Nimrod to Dunkirk's original score? A: Elgar's Enigma variations - and Nimrod, in particular - have long been a part of the British consciousness  Q: What do you mean by part of British conciousness? A: Zimmer is trying to instil the patriotism that the variations have done for the British over the past century  <sep> FOLLOWUP_Q: Oh I see, isn't is unusually long for a soundtrack?
Output: Yes
CONTEXT: Elgar's Enigma variations - and Nimrod, in particular - have long been a part of the British consciousness. Interestingly, Elgar ended up writing 14 variations (Nimrod being number 9). Zimmer is trying to instil the patriotism that the variations have done for the British over the past century. Calling his own composition Variation 15 implies a continuation of Elgar's original works.  <sep>  Q: What is the significance of Nimrod to Dunkirk's original score? A: Elgar's Enigma variations - and Nimrod, in particular - have long been a part of the British consciousness  Q: What do you mean by part of British conciousness? A: Zimmer is trying to instil the patriotism that the variations have done for the British over the past century  Q: Oh I see, isn't is unusually long for a soundtrack? A: Interestingly, Elgar ended up writing 14 variations (Nimrod being number 9  <sep> FOLLOWUP_Q: Anything other interesting facts you can share about Elgar or Zimmer?
Output: Yes
CONTEXT: Elgar's Enigma variations - and Nimrod, in particular - have long been a part of the British consciousness. Interestingly, Elgar ended up writing 14 variations (Nimrod being number 9). Zimmer is trying to instil the patriotism that the variations have done for the British over the past century. Calling his own composition Variation 15 implies a continuation of Elgar's original works.  <sep>  Q: What is the significance of Nimrod to Dunkirk's original score? A: Elgar's Enigma variations - and Nimrod, in particular - have long been a part of the British consciousness  Q: What do you mean by part of British conciousness? A: Zimmer is trying to instil the patriotism that the variations have done for the British over the past century  Q: Oh I see, isn't is unusually long for a soundtrack? A: Interestingly, Elgar ended up writing 14 variations (Nimrod being number 9  <sep> FOLLOWUP_Q: That is very interesting...do you know why he'd do so many variations?
Output: No
CONTEXT: Elgar's Enigma variations - and Nimrod, in particular - have long been a part of the British consciousness. Interestingly, Elgar ended up writing 14 variations (Nimrod being number 9). Zimmer is trying to instil the patriotism that the variations have done for the British over the past century. Calling his own composition Variation 15 implies a continuation of Elgar's original works.  <sep>  Q: What is the significance of Nimrod to Dunkirk's original score? A: Elgar's Enigma variations - and Nimrod, in particular - have long been a part of the British consciousness  Q: What do you mean by part of British conciousness? A: Zimmer is trying to instil the patriotism that the variations have done for the British over the past century  Q: Oh I see, isn't is unusually long for a soundtrack? A: Interestingly, Elgar ended up writing 14 variations (Nimrod being number 9  Q: Anything other interesting facts you can share about Elgar or Zimmer? A: Calling his own composition Variation 15 implies a continuation of Elgar's original works  <sep> FOLLOWUP_Q: Is the typical of a composer to do?
Output: No
CONTEXT: What he wants was to have a normal life, because a normal life was the way to be in a relationship with MJ. Being Spider-Man moves him further and further way from his own life (family, friends, college, work and, most importantly, Mary Jane). He subconsciously wants to stop being Spider-Man. After the talk with the doctor he realizes he has a choice, and we can see the confrontation of this yearning of a simple life with MJ against his guilt of not using his powers for good, which is represented by Uncle Ben in the car scene: MJ gets abducted because of her relationship to Peter (not Spider-Man), so in spite of his choice of not being with her to spare her from being used against Spider-Man, they get to her anyway, and the only way to save her is to be Spider-Man. Here both goals become aligned: wanting MJ and wanting to be Spider-Man are now the same thing. So to use his powers again and go have her, he needs to focus on what he wants now: be Spider-Man to save Mary Jane.  <sep>  Q: What does Peter Parker want in Spider-Man 2 (2004)?
Output: Yes
CONTEXT: What he wants was to have a normal life, because a normal life was the way to be in a relationship with MJ. Being Spider-Man moves him further and further way from his own life (family, friends, college, work and, most importantly, Mary Jane). He subconsciously wants to stop being Spider-Man. After the talk with the doctor he realizes he has a choice, and we can see the confrontation of this yearning of a simple life with MJ against his guilt of not using his powers for good, which is represented by Uncle Ben in the car scene: MJ gets abducted because of her relationship to Peter (not Spider-Man), so in spite of his choice of not being with her to spare her from being used against Spider-Man, they get to her anyway, and the only way to save her is to be Spider-Man. Here both goals become aligned: wanting MJ and wanting to be Spider-Man are now the same thing. So to use his powers again and go have her, he needs to focus on what he wants now: be Spider-Man to save Mary Jane.  <sep>  Q: What does Peter Parker want in Spider-Man 2 (2004)? A: What he wants was to have a normal life  <sep> FOLLOWUP_Q: What else does he want?
Output: Yes
CONTEXT: What he wants was to have a normal life, because a normal life was the way to be in a relationship with MJ. Being Spider-Man moves him further and further way from his own life (family, friends, college, work and, most importantly, Mary Jane). He subconsciously wants to stop being Spider-Man. After the talk with the doctor he realizes he has a choice, and we can see the confrontation of this yearning of a simple life with MJ against his guilt of not using his powers for good, which is represented by Uncle Ben in the car scene: MJ gets abducted because of her relationship to Peter (not Spider-Man), so in spite of his choice of not being with her to spare her from being used against Spider-Man, they get to her anyway, and the only way to save her is to be Spider-Man. Here both goals become aligned: wanting MJ and wanting to be Spider-Man are now the same thing. So to use his powers again and go have her, he needs to focus on what he wants now: be Spider-Man to save Mary Jane.  <sep>  Q: What does Peter Parker want in Spider-Man 2 (2004)? A: What he wants was to have a normal life  Q: What else does he want? A: to be in a relationship with MJ  <sep> FOLLOWUP_Q: Anything else?
Output: Yes
CONTEXT: What he wants was to have a normal life, because a normal life was the way to be in a relationship with MJ. Being Spider-Man moves him further and further way from his own life (family, friends, college, work and, most importantly, Mary Jane). He subconsciously wants to stop being Spider-Man. After the talk with the doctor he realizes he has a choice, and we can see the confrontation of this yearning of a simple life with MJ against his guilt of not using his powers for good, which is represented by Uncle Ben in the car scene: MJ gets abducted because of her relationship to Peter (not Spider-Man), so in spite of his choice of not being with her to spare her from being used against Spider-Man, they get to her anyway, and the only way to save her is to be Spider-Man. Here both goals become aligned: wanting MJ and wanting to be Spider-Man are now the same thing. So to use his powers again and go have her, he needs to focus on what he wants now: be Spider-Man to save Mary Jane.  <sep>  Q: What does Peter Parker want in Spider-Man 2 (2004)? A: What he wants was to have a normal life  Q: What else does he want? A: to be in a relationship with MJ  Q: Anything else? A: He subconsciously wants to stop being Spider-Man  <sep> FOLLOWUP_Q: Why would he want to do that?
Output: Yes
CONTEXT: What he wants was to have a normal life, because a normal life was the way to be in a relationship with MJ. Being Spider-Man moves him further and further way from his own life (family, friends, college, work and, most importantly, Mary Jane). He subconsciously wants to stop being Spider-Man. After the talk with the doctor he realizes he has a choice, and we can see the confrontation of this yearning of a simple life with MJ against his guilt of not using his powers for good, which is represented by Uncle Ben in the car scene: MJ gets abducted because of her relationship to Peter (not Spider-Man), so in spite of his choice of not being with her to spare her from being used against Spider-Man, they get to her anyway, and the only way to save her is to be Spider-Man. Here both goals become aligned: wanting MJ and wanting to be Spider-Man are now the same thing. So to use his powers again and go have her, he needs to focus on what he wants now: be Spider-Man to save Mary Jane.  <sep>  Q: What does Peter Parker want in Spider-Man 2 (2004)? A: What he wants was to have a normal life  Q: What else does he want? A: to be in a relationship with MJ  Q: Anything else? A: He subconsciously wants to stop being Spider-Man  Q: Why would he want to do that? A: After the talk with the doctor he realizes he has a choice, and we can see the confrontation of this yearning of a simple life with MJ  <sep> FOLLOWUP_Q: Can you tell me more about that?
Output: Yes
CONTEXT: What he wants was to have a normal life, because a normal life was the way to be in a relationship with MJ. Being Spider-Man moves him further and further way from his own life (family, friends, college, work and, most importantly, Mary Jane). He subconsciously wants to stop being Spider-Man. After the talk with the doctor he realizes he has a choice, and we can see the confrontation of this yearning of a simple life with MJ against his guilt of not using his powers for good, which is represented by Uncle Ben in the car scene: MJ gets abducted because of her relationship to Peter (not Spider-Man), so in spite of his choice of not being with her to spare her from being used against Spider-Man, they get to her anyway, and the only way to save her is to be Spider-Man. Here both goals become aligned: wanting MJ and wanting to be Spider-Man are now the same thing. So to use his powers again and go have her, he needs to focus on what he wants now: be Spider-Man to save Mary Jane.  <sep>  Q: What does Peter Parker want in Spider-Man 2 (2004)? A: What he wants was to have a normal life  Q: What else does he want? A: to be in a relationship with MJ  Q: Anything else? A: He subconsciously wants to stop being Spider-Man  Q: Why would he want to do that? A: After the talk with the doctor he realizes he has a choice, and we can see the confrontation of this yearning of a simple life with MJ  Q: Can you tell me more about that? A: his guilt of not using his powers for good, which is represented by Uncle Ben in the car scene  <sep> FOLLOWUP_Q: Why did he decide to go back to being spider man?
Output: Yes
CONTEXT: There are probably a lot of opinions about this. My opinion is that he is. But one thing I am sure of is that there are two clues in the movie. Their inclusion into the movie plot indicate that the creators wanted you to conclude that Little Forrest is in fact Forrest's biological son. When Forrest first finds out about being a father, he asks if he can be with Little Forrest. He goes over to him, sits down, and they both start watching TV. From that point on their actions are identical: They get caught up in the show at the same time, AND they tilt their heads slightly to the left at the same time. Later on, we see that they both love the same things naturally. Little Forrest loves to fish. Once again they get caught up in the sitting "action" of fishing with their heads tilted slightly to the left. Please observe this YouTube clip that shows the father and son tilting their heads to the left. Forrest, the father, goes to his son at around 4:20 minutes; they tilt their heads at around 4:38 minutes. In this YouTube clip, we see at 1:11 minutes that Little Forrest has a knack for ping pong. At 1:18 minutes, both father and son are fishing and again have their heads tilted slightly to the left.  <sep>  Q: Who is Forrest JR?
Output: Yes
CONTEXT: There are probably a lot of opinions about this. My opinion is that he is. But one thing I am sure of is that there are two clues in the movie. Their inclusion into the movie plot indicate that the creators wanted you to conclude that Little Forrest is in fact Forrest's biological son. When Forrest first finds out about being a father, he asks if he can be with Little Forrest. He goes over to him, sits down, and they both start watching TV. From that point on their actions are identical: They get caught up in the show at the same time, AND they tilt their heads slightly to the left at the same time. Later on, we see that they both love the same things naturally. Little Forrest loves to fish. Once again they get caught up in the sitting "action" of fishing with their heads tilted slightly to the left. Please observe this YouTube clip that shows the father and son tilting their heads to the left. Forrest, the father, goes to his son at around 4:20 minutes; they tilt their heads at around 4:38 minutes. In this YouTube clip, we see at 1:11 minutes that Little Forrest has a knack for ping pong. At 1:18 minutes, both father and son are fishing and again have their heads tilted slightly to the left.  <sep>  Q: Who is Forrest JR? A: father  <sep> FOLLOWUP_Q: What happened to Jenny?
Output: Yes
CONTEXT: There are probably a lot of opinions about this. My opinion is that he is. But one thing I am sure of is that there are two clues in the movie. Their inclusion into the movie plot indicate that the creators wanted you to conclude that Little Forrest is in fact Forrest's biological son. When Forrest first finds out about being a father, he asks if he can be with Little Forrest. He goes over to him, sits down, and they both start watching TV. From that point on their actions are identical: They get caught up in the show at the same time, AND they tilt their heads slightly to the left at the same time. Later on, we see that they both love the same things naturally. Little Forrest loves to fish. Once again they get caught up in the sitting "action" of fishing with their heads tilted slightly to the left. Please observe this YouTube clip that shows the father and son tilting their heads to the left. Forrest, the father, goes to his son at around 4:20 minutes; they tilt their heads at around 4:38 minutes. In this YouTube clip, we see at 1:11 minutes that Little Forrest has a knack for ping pong. At 1:18 minutes, both father and son are fishing and again have their heads tilted slightly to the left.  <sep>  Q: Who is Forrest JR? A: father  Q: What happened to Jenny? A: They get caught up in the show at the same time, AND they tilt their heads slightly to the left at the same time  <sep> FOLLOWUP_Q: How does it end?
Output: Yes
CONTEXT: There are probably a lot of opinions about this. My opinion is that he is. But one thing I am sure of is that there are two clues in the movie. Their inclusion into the movie plot indicate that the creators wanted you to conclude that Little Forrest is in fact Forrest's biological son. When Forrest first finds out about being a father, he asks if he can be with Little Forrest. He goes over to him, sits down, and they both start watching TV. From that point on their actions are identical: They get caught up in the show at the same time, AND they tilt their heads slightly to the left at the same time. Later on, we see that they both love the same things naturally. Little Forrest loves to fish. Once again they get caught up in the sitting "action" of fishing with their heads tilted slightly to the left. Please observe this YouTube clip that shows the father and son tilting their heads to the left. Forrest, the father, goes to his son at around 4:20 minutes; they tilt their heads at around 4:38 minutes. In this YouTube clip, we see at 1:11 minutes that Little Forrest has a knack for ping pong. At 1:18 minutes, both father and son are fishing and again have their heads tilted slightly to the left.  <sep>  Q: Who is Forrest JR? A: father  Q: What happened to Jenny? A: They get caught up in the show at the same time, AND they tilt their heads slightly to the left at the same time  Q: How does it end? A: Later on, we see that they both love the same things naturally  <sep> FOLLOWUP_Q: What happened to Forrest?
Output: Yes